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STANFORD 
MEMORIAL  CHURCH 


THK  PALO  ALTO  TREE 


STANFORD 
MEMORIAL  CHURCH 


THE  MOSAICS,  THE  WINDOWS, 
THE  INSCRIPTIONS 


BY  WILLIS  L.  HALL 

Copyright,  1917,  by  Willis  L.  Hall 
PRICE  FIFTY  CENTS 


S^3 
printed  by 
Times  Publishing  Company 
palo  alto,  california 

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CONTENTS 


,  PAGE 

Introduction 5 

Stanford  Memorial  Church 15 

The  Mosaics   25 

The  Windows    35 

The  Inscriptions      39 

Illustrations — • 

The  Stanford  Family — Leland  Stanford,  Jr.,  Mrs.  Jane  Lathrop  Stanford, 

Senator   Leland    Stanford    2 

Some  of  the  Trees  in  the  Arboretum 4 

Original  Main  Gateway  to  the  Stanford  Campus. . . 6 

.    Eucalyptus  Trees  in  the  Arboretum 8 

View  of  Stanford  from  the  Lathrop  Residence 9 

President  Wilbur  and  Chancellor  Jordan 10 

Dr.  John  C.  Branner 11 

Academic  Procession  at  Installation  of  Dr.  Branner 12 

Academic  Procession  at  Installation  of  Dr.  Wilbur 13 

Original  Stanford  Memorial  Church 14 

Stanford  Memorial  Church  Restored. 16 

On  the  Inner  Quadrangle  at  the  Wilbur  Installation 18 

The  Chancel  and  Apse  in  the  Original  Church  19 

Western  Portion  of  Chancel  and  Apse  in   Original   Church 20 

A  Fraternity  House *. 22 

A  Stanford  Graduating  Class  in  Commencement  Parade 24 

Lobby  of  the  Stanford  Museum  of  Fine  Arts 26 

A  Roadway  Scene  Near  Stanford 34 

The    Annunciation    36 

A  Corner  of  the  Outer  Quadrangle 38 

In  the  Foothill  Country    42 

The  Roadway  back  of  the  University 43 

The  Stanford  Battalion  Receiving  the  Colors 44 

The  Stanford  Family  Statuary  Group 46 

Roble  Hall,  First  Dormitory  for  Women 47 

The    Stanford    Mausoleum    48 


361975 


INTRODUCTION 

O  varied  and  numerous  are  the  features  of  Leland  Stan- 
ford Junior  University  it  would  require  a  large  volume 
to  do  them  any  sort  of  justice.  Hence  that  is  not  at- 
tempted in  this  book.  Aside  from  the  educational  work 
carried  on  by  the  institution  its  most  notable  feature  is 
the  Memorial  Church,  to  which  attention  is  turned.  However,  a  few 
words  about  the  university  itself  are  given. 

Leland  Stanford  Junior  University  was  founded  by  Senator  Leland 
and  Mrs.  Jane  Lathrop  Stanford  as  a  memorial  to  their  only  son,  who 
died  abroad  March  13,  1884.  The  founders  decided  to  devote  nearly 
all  of  their  large  fortune  to  the  endowment  of  the  university.  They 
appointed  a  board  of  trustees,  which  board  is  now  in  control.  Dur- 
ing the  greater  part  of  their  lives  after  founding  the  university  Sena- 
tor and  Mrs.  Stanford  were  in  direct  control  of  everything  concerning 
it.  Senator  Stanford  died  June  21,  1893.  Mrs.  Stanford  relinquished 
control  June  1,  1903,  but  remained  a  member  of  the  board  of  trustees 
until  her  death  a  few  years  later. 

The  board  of  trustees  at  the  present  time  is  composed  of  the  fol- 
lowing: 

Frank  Bartow  Anderson,  San  Francisco. 

Ralph  Arnold,  Los  Angeles. 

William  Babcock,  San  Rafael. 

Frank  Prentiss  Deering,  San  Francisco. 

Charles  Parmelee  Eells,  San  Francisco. 

Joseph  Donohoe  Grant,  San  Francisco. 

Herbert  C.  Hoover,  San  Francisco. 

Timothy  Hopkins,  Menlo  Park. 

Samuel  Franklin  Leib,  San  Jose. 

Percy  T.  Morgan,  San  Francisco. 

William  Mayo  Newhall,  San  Francisco. 


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INTRODUCTION 


James  Leroy  Nickel,  San  Francisco. 

Leon  Sloss,  San  Francisco. 

Thomas  Welton  Stanford,  Melbourne,  Australia. 

Vanderlynn  Stow,  San  Francisco. 

Dr.  David  Starr  Jordan  was  appointed  president  of  the  university 
March  23,  1891,  and  was  formally  installed  in  office  October  1  of  the 
same  year.  He  continued  as  president  until  May,  1913,  when  he  re- 
signed to  become  chancellor,  relinquishing  all  active  connection  as  a 
member  of  the  faculty  in  May,  1917,  and  assuming  the  title  of  chan- 
cellor emeritus.  Dr.  John  C.  Branner,  a  member  of  the  faculty  from 
the  founding  of  the  university,  was  the  second  president,  retiring  from 
office  December  31,  1916,  and  being  named  president  emeritus.  Dr. 
Ray  Lyman  Wilbur,  a  member  of  the  graduating  class  of  1896,  was 
selected  to  succeed  Dr.  Branner  and  still  fills  the  presidential  office. 

The  property  of  Leland  Stanford  Junior  University  is  estimated  to 
be  worth  more  than  $40,000,000.  It  consists  of  a  large  amount  of  valu- 
able stocks  and  bonds,  two  large  ranches  in  northern  California,  San 
Francisco  real  estate  and  the  tract  upon  which  the  university  is 
located.  This  tract  was  formerly  known  as  the  Palo  Alto  ranch,  de- 
voted principally  to  the  breeding  of  fine  horses.  The  only  reminder 
of  that  feature  is  the  horse  cemetery  where  monuments  have  been 
erected  to  Electioneer  and  other  famous  trotters  and  pacers ;  also  the 
mounted  skeleton  of  Palo  Alto,  the  great  trotter,  in  the  museum. 
There  are  approximately  8,000  acres  in  this  tract,  of  which  less  than 
500  are  devoted  to  the  university  campus.  To  the  south,  west  and 
north  of  the  university  itself,  on  Stanford  lands  and  tracts  owned  by 
private  citizens,  is  located  the  twentieth  division  United  States  army 
cantonment. 

The  original  plan  of  the  buildings  provides  for  three  large  quad- 
rangles, of  which  only  the  central  one  has  been  completed.  They  face 
north  and  are  to  form  a  continuous  row  almost  a  mile  in  length  when 
completed,  Roble  Hall  being  at  the  west  end  and  Encina  Hall  at  the 
east.  A  beginning  has  been  made  on  the  second  quadrangle  by  the 
erection  of  the  Thomas  Welton  Stanford  Memorial  Art  Gallery,  ready 
for  occupancy  by  January,  1918.  The  new  library  building  is  to  be 
the  next  structure  undertaken.  Others  will  follow  in  the  course  of 
time.  Back  of  the  quadrangles  the  ground  has  been  platted  and  tracts 
leased  for  the  erection  of  fraternity  houses,  residences  for  professors 


EUCALYPTUS  TREES  IN  THE  ARBORETUM 


INTRODUCTION 


the  Lathrop  residence,  from  which  a  splendid  view  of  the  country  to 
the  east  is  obtained.  The  university  campus  is  in  the  foreground,  the 
city  of  Palo  Alto  and  Santa  Clara  valley  further  along,  then  San  Fran- 
cisco Bay  and  the  mountains  to  the  east. 

In  the  completed  inner  quadrangle  many  notable  ceremonies  have 
been  witnessed  by  the  various  generations  of  Stanford  students.  First 
was  the  formal  installation  of  President  Jordan.  President  Branner's 
installation  ceremony  was  held  in  the  same  place.  The  colors  of  the 
Stanford  battalion  were  presented  at  a  ceremony  in  the  inner  quad- 
rangle and  were  afterward  dedicated  in  the  Memorial  Church. 

The  illustrations  show  some  of  the  events  that  have  taken  place  at 
Stanford,  also  some  of  the  features  of  the  campus  and  the  Stanford 
Memorial  Church. 


VIEW  OF  STANFORD  FROM  THE  LATHROP  RESIDENCE 


PRESIDENT  WILBUR  AND  CHANCELLOR  JORDAN 


DR.  JOHN  C.  BRANNKR 


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ORIGINAL  STANFORD  MEMORIAL  CHURCH 


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STANFORD  MEMORIAL  CHURCH 


DELIGHT  to  artists  is  the  Memorial  Church  at  Stan- 
ford University.  In  it  are  works  of  art  destined  to  be- 
come worthy  of  pilgrimages  in  years  to  come.  Stately 
architecture,  substantial  building,  beautiful  stained  glass 
windows  and  most  of  all  the  largest  use  of  art  mosaics 
for  mural  decorations  in  x\merica  combine  to  make  it  a  structure 
more  than  unique  in  character,  one  worth  visiting  and  remembering. 

El  Camino  Real,  that  century-old  highway  laid  out  by  the  Franciscan 
fathers,  passes  at  a  distance  of  less  than  a  mile.  An  hour's  journey 
southeast  from  San  Francisco,  if  one  chooses  to  travel  along  this  now 
well  made  modern  roadway,  he  will  reach  a  broad  gateway  that  gives 
entrance  to  the  Stanford  University  campus.  Southward  for  a  mile 
through  a  vista  of  palm  trees  may  be  seen  portions  of  low,  fed-roofed 
buildings.  Above  the  central  portion  a  golden  point  attracts  attention. 
While  passing  along  the  avenue  of  palms  any  one  botanically  inter- 
ested could  find  much  to  absorb  attention  in  the  arboretum  with  its 
hundreds  of  varieties  of  trees,  but  the  visitor  generally  prefers  to  pass 
on  to  the  university  itself.  The  avenue  forks,  the  branches  forming 
an  oval,  very  much  racquet  shaped,  the  enclosed  space  always  covered 
with  a  velvety  lawn,  outer  edges  of  roadways  still  palm  bordered. 
At  the  dividing  of  the  main  avenue  the  first  view  is  gained  of  the 
entire  row  of  buildings,  all  connected  by  cloisters,  extending  a  thou- 
sand feet  from  east  to  west.  Through  a  gap  in  the  center  still  more 
cloisters  are  to  be  seen,  but  the  golden  point  gleams  above  all. 

Rounding  the  grassy  oval  the  traveler  reaches  the  quadrangle  with 
its  enclosing  cloisters.  Passing  between  two  truncated  towers,  for- 
merly bases  of  a  grand  memorial  arch,  he  enters  the  memorial  court, 
cloistered  on  all  sides.  Under  the  arches  across  the  court  to  the 
south  are  seen  palms  and  still  more  cloisters ;  but  through  the  central 


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STANFORD  MEMORIAL  CHURCH  17 

portion  sections  of  a  picture  appear.  The  court  crossed,  the  traveler 
passes  under  one  of  the  arches  and  is  then  directly  in  front  of  the 
splendidly  decorated  facade  of  Stanford  Memorial  Church.  Then  he 
learns  that  the  brilliant  golden  point  is  the  background  and  apex  of  a 
great  picture. 

At  first  the  impression  is  that  the  facade  is  painted  over  in  a 
most  artistic  manner.  Figures  are  distinct,  colors  bright,  harmoniz- 
ing, contrasting  and  the  whole  work  fixing  attention.  Three  carved 
stone  arches  on  massive  bases  form  the  lower  portion  of  the  facade. 
On  the  spandrels  are  Biblical  pictures  of  Faith,  Hope,  Charity  and 
Love.  The  golden  background  is  decorated  in  tapestry  designs. 
Large  stained  glass  windows  framed  in  stone  with  lacy  carving 
occupy  the  central  portion  of  the  facade  above  the  entrances.  At  the 
sides  of  the  windows  and  converging  to  a  point  over  them  is  pictured 
the  Sermon  on  the  Mount.  There  are  groups  of  figures,  all  in  posi- 
tion of  rapt  attention,  each  individual  apparently  paying  close  heed 
to  the  most  notable  personage  of  all — Christ  delivering  his  great 
sermon.  Back  of  him  are  waving  palms  and  a  gleaming  sky — the 
golden  point  that  is  visible  from  the  distance.  -' 

From  nearer  vantage  the  visitor  learns  that  the  picture  is  not  a 
painting,  but  mosaic.  Nowhere  else  in  America  can  such  an  exten- 
sive use  of  this  form  of  decoration  be  seen.  The  facade,  however,  is 
only  an  introduction  to  a  more  lavish  use  of  this  artistic  work.  Pass- 
ing through  the  entrance  and  by  the  bronze  scroll  doors  the  visitor 
enters  a  mosaic  decorated  vestibule.  Pursuing  his  way  into  the  nave 
he  looks  forward  to  the  chancel,  where  the  blendings  of  stained  glass 
window  lights  on  mosaics  at  first  dazzle  with  their  brilliance.  On 
either  side  of  the  nave,  both  on  walls  rising  from  the  forward  sloping 
floor  and  in  the  clearstory,  the  splendors  of  stained  glass  reproduc- 
tions of  masterpieces  of  the  old  world  are  presented  in  colorful  beauty. 
Looking  skyward  under  the  dome  in  front  of  the  chancel  the  visitor 
sees  four  adoring  angels,  done  in  mosaic,  apparently  rising  from 
clouds,  in  the  spandrels  over  the  four  large  pilasters. 

A  closer  view  of  the  chancel  reveals  artistic  work  of  a  kind  seldom 
seen  anywhere.  In  the  center  is  a  white  marble  communion  table. 
Just  back  of  it  in  the  wall  is  a  mosaic  reproduction  of  Cosimo  Ro- 
selli's  "Last  Supper."  This  is  the  only  copy  ever  permitted  to  be 
made  of  that  famous  mosaic  in  the  Sistine  Chapel  at  Rome.     To  the 


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STANFORD  MEMORIAL  CHURCH 


19 


right  and  left  are  golden  mosaic  niches  which  will  be  occupied  by 
statues  of  the  apostles.  Above  in  the  apse  appear  groups  of  a  seraph 
choir,  separated  into  four  sections  by  three  stained  glass  windows 
showing  the  nativity,  the  crucifixion  and  the  ascension.  Still  higher 
on  each  side  are  four  heroic  size  mosaics  of  prophets  and  Jewish 
kings.  Cherub  faces  in  mosaic  peep  forth  from  flowery  backgrounds. 
Turning  from  the  chancel  one  can  see  more  beautiful  stained  glass 
windows  and  mosaics  in  the  transepts,  in  the  clearstory  and  in  the 
great  organ  and  choir  loft  at  the  extreme  north  end.  »  After  this  pre- 
liminary view  it  will  repay  anyone  to  make  a  prolonged  visit  and 
examine  thoroughly  this  more  than  unique  memorial.  Returning  to 
the  entrance  to  the  church  the  detail  of  the  mosaic  work  can  be  studied 
at  leisure.  This  method  of  decoration  was  selected  by  Mrs.  Stanford 
after  she  had  noted  its  efifectiveness  in  Italy.     Because  of  its  unfad- 


CHANCEL  AND  APSE  IN  ORIGINAL  CHURCH 


ing  nature  and  brilliance  in  color  effects  it  seemed  most  suitable. 
Furthermore,  it  is  especially  adapted  to  this  locality,  wliere  extremes 
of  heat  and  cold  are  not  experienced.  The  grime  and  smoke  that 
smudge  building  exteriors  in  cities  are  not  known,  while  abundant 
rains   at   certain   seasons   of   the   year   wash    off   whatever   dust   may 


*1 


STANFORD   MEMORIAL  CHURCH 


accumulate.  So  mosaics  on  the  facade  are  always  clear  and  brilliant. 
The  university  ground  plan  comprises  an  outer  and  an  inner  quad- 
rangle, each  side  of  the  outer  being  more  than  a  thousand  feet  long. 
On  three  sides  of  the  outer  quadrangle  the  buildings  facing  outward 
are  connected  and  enclosed  by  cloisters,  every  structure  being  of  the 
same  rough  buff  sandstone,  red  tiling  roofs.  There  is  ample  space  in 
this  plan  for  many  buildings,    liberal  provision  for  light  and  air,  yet 


WESTERN  PORTION  OF  CHANCEL  AND  APSE  IN  ORIGINAL  CHURCH 


every  one  is  convenient  of  access.  The  inner  quadrangle,  also  clois- 
tered, has  an  open  court  in  which  space  has  been  allotted  for  trees. 
On  the  south  side  of  this  court  in  the  very  heart  of  the  university  the 
Stanford  Memorial  Church  is  located. 

It  does  not  impress  by  size,  as  it  extends  only  200  feet  back  from 


STANFORD  MEMORIAL  CHURCH  21 

the  court  has  a  breadth  of  about  100  feet  and  the  height  to  the  cross 
topping  the  apex  is  only  about  90  feet.  Adaptations  of  several  styles 
of  architecture  have  been  used  in  the  structure.  Surrounding  it  the 
modified  mission  predominates,  while  the  church  is  more  Romanesque, 
especially  in  the  interior.  The  buff  sandstone  readily  lends  itself  for 
the  lacy  carving  in  the  arches  over  the  entrance  and  windows.  It  also 
conveys  the  impression  of  solidity  when  seen  in  the  mass,  either 
smooth  or  rough.  Its  neutral  tone  serves  well  to  bring  out  by  con- 
trast the  bright  colors  in  the  mosaics  and  windows. 

To  speak  of  the  church's  history,  it  was  built  primarily  by  Mrs. 
Stanford  as  a  memorial  to  her  husband  and  to  fulfill  one  of  the  objects 
of  the  university's  establishment.  The  founders'  deed  of  gift  pro- 
vided that  non-sectarian  religious  study  should  be  a  part  of  the 
work  undertaken.  In  1898  Mrs.  Stanford  and  the  trustees  asked  San 
Francisco  architects  to  submit  designs.  Shepley,  Rutan  &  Coolidge 
in  making  the  original  sketch  followed  the  motif  of  Trinity  Church, 
Boston.  Clinton  E.  Day  of  San  Francisco  prepared  the  plans  and 
Charles  E.  Hodges  was  the  supervising  architect.  Mrs.  Stanford 
made  a  special  tour  of  Europe  to  select  designs  and  methods  of  deco- 
ration. It  was  on  January  25,  1903,  that  the  church  was  sufficiently 
advanced  in  construction  for  dedication.  At  the  ceremony  were  cler- . 
gymen  of  all  denominations.  By  their  participation  they  demon- 
strated a  friendliness  non-sectarian  in  nature  that  has  been  fos- 
tered and  has  grown  under  the  guidance  of  Dr.  D.  Charles  Gardner, 
pastor  of  the  church  and  chaplain  of  the  university.  From  1906  to 
1913  the  building  was  not  in  use,  as  during  that  time  work  was  in 
progress  repairing  the  damage  suffered  in  the  earthquake.  Since 
then  it  has  been  in  constant  use.     It  is  open  every  day  for  visitors. 

Though  occupying  the  anomalous  position  of  ministering  to  the 
spiritual  wants  of  more  than  a  thousand  young  people  of  all  creeds 
the  results  achieved  so  far  have  not  been  disappointing.  The  effort 
is  still  in  its  experimental  stage,  according  to  Dr.  Gardner,  but  there 
seems  to  be  no  present  cause  for  discouragement. 

Apparently  the  idea  of  Mrs.  Stanford  and  her  coadjutors,  both  in 
the  erection  of  the  original  structure  and  in  the  reconstruction  work, 
'has  been  to  make  the  church  as  permanent  a  building  as  possible 
and  have  the  decorations  of  an  equally  enduring  character.  The  best 
efforts  of  engineering  and  artistic  genius  have  been  exerted  to  secure 


22  STANFORD  MEMORIAL  CHURCH 

these  two  results.  The  1906  earthquake  badly  wracked  the  carefully 
constructed  edifice.  The  tower  and  its  chime  of  bells  fell ;  the  solid 
walls  were  cracked,  while  the  mosiaics  and  Carrara  marble  statuary 
in  the  chancel  were  injured  beyond  rep'aif.  In  reconstruction  work 
great  care  has  been  taken  to  assure  permanence.  Each  stone  of  the 
original  structure,  so  far  as  -it  has  been  posible  to  do  so,  has  been 
relaid  as  it  was  before  beiiig  thrown  down.  But  this  time,  in  addi- 
tion to  being  set  in  cement,  each  stone  is  securely  bolted  to  its  neigh- 
bors, making  the  whole  structure  practically  one  massive  hollow  rock 
on  a  great  steel  foundation  skeleton.  On  these  firm  walls  the  interior 
and  exterior  mural  decorations  are  placed.     If  the  building  stands  for 


A  FRATERNITY  HOUSE 


centuries  all  the  decorations  will  be  as  fresh  hundreds  of  years  from 
now  as  they  are  today.  Fadeless  and  enduring  are  the  colors  of  this 
work,  not  subject  to  the  deterioration  so  lamentably  shown  among 
frescoes   and   canvases   seen   in   other   countries.     The   Venetian   and 


STANFORD   MEMORIAI,  CHURCH 


23 


Roman  mosaics  put  in  centuries  ago  show  no  signs  of  fading,  nor 
will  those  at  Stanford. 

It  is  a  matter  of  congratulation  not  only  to  the  people  of  the  west- 
ern portion  of  the  country,  but  to  all  America  as  well,  that  the  sub- 
jects were  so  well  chosen.  In  years  to  come  it  may  be  that  artists 
of  other  generations  will  journey  to  Stanford  to  study  the  master- 
pieces which  will  show  the  true  coloring  and  detail  elaborated  by 
men  of  genius.  It  is  noteworthy  that  the  figures  of  women  are  more 
numerous  than  in  church  decorations  generally.  Mrs.  Stanford  de- 
sired this  to  show  the  uplifting  influence  of  religion  for  women.  The 
result  is  eminently  pleasing  and  satisfying. 

For  a  great  part  of  the  years  Stanford  University  has  been  open 
for  students  many  thousands  of  young  people  daily  have  been  asso- 
ciated with  these  evidences  of  art  as  applied  to  religion.  Repeated 
viewing  does  not  lessen  the  attraction.  Consciously  or  unconsciously 
they  have  cultivated  an  appreciation  of  art  and  they  have  carried  with 
them  to  sterner  fields  of  action  standards  of  beauty  and  its  presenta- 
tion that  prove  uplifting.  Memories  of  other  things  may  dim ;  les- 
sons learned  in  the  recitation  halls  may  be  forgotten  entirely ;  the 
hard  fought  contests  on  athletic  fields  may  dwindle  to  mere  trifles ; 
but  not  so  with  the  pictures  that  must  be  impressed  indelibly  upon  • 
the  tablets  of  memory.  The  Stanford  Memorial  Church  and  its  mas- 
terful mosaics  will  always  be  reminders  of  artistic  work.  Nor  will 
they  forget  the  sentiment  carried  on  the  dedication  inscription :  "Me- 
morial Church  erected  by  Jane  Lathrop  Stanford  to  the  Glory  of  God 
and  in  Loving  Memory  of  Her  Husband,  Leland  Stanford." 


< 


2; 


'71 

O 

o 


THE  MOSAICS 


LL  the  mosaics  at  Stanford  University  came  from  the 
studio  of  Dr.  Antonio  Salviati  &  Co.,  Venice,  Italy. 
In  addition  to  the  work  on  the .  Memorial  Church  are 
eight  large  pictures  high  up  on  the  walls  of  the  museum 
building  and  the  decorated  vestibule  of  the  mausoleum. 
From  Salviati  &  Co.  the  following  information  was  obtained  relative 
to  the  origin,  development  and  process  of  making  mosaics : 

By  the  term  mosaic  is  meant  a  work  formed  by  the  use  of  a  very 
large  number  of  pieces  of  material,  varying  in  size,  the  substance 
being  most  durable.  Sometimes  pieces  are  of  marble,  sometimes  of 
enamel,  improperly  termed  glass,  the  pieces  being  of  numerous  vary- 
ing shades  of  colors,  forms  and  sizes.  They  are  made  to  produce 
more  or  less  successfully  (according  to  the  skill  of  the  mosaicists 
in  dressing  and  joining  them)  the  same  result  as  is  obtained  by  the 
painter  with  his  pencil  or  brush.  The  pieces,  placed  together  ac- 
cording to  design,  are  fixed  on  cement;  thus  so  joined  the  whole 
forms  one  solid  body  of  unquestionable  durability. 

Mosaics  originated  in  Greece,  but  have  been  developed  to  their 
highest  beauty  and  excellence  in  Venice.  The  ancients  knew  the 
advantage  of  color  and  prominence  that  should  be  given  to  it  in 
architectural  decoration.  Having  used  marbles  of  different  colors  and 
painted  substances  without  having  been  able  to  obtain  the  desired 
effect,  they  perceived  the  necessity  of  using  some  new  materials  for 
the  purpose  of  making  mosaics  in  order  to  obtain  those  varieties  of 
tints  and  shades  which  were  not  provided  in  natural  substances. 
They  hit  upon  colored  glass  as  this  substitute.  First  it  was  trans- 
parent, then  opaque — that  is,  .enamel — and  this  was  found  to  be  the 
fittest  material  with  which  to  obtain  the  desired  effect.  Its  suitability 
was  also  determined  by  its  power  of  resistance  to  atmospheric  in- 


3fi 


STANFORD   MEMORIAL  CHURCH 


jury.  Colored  enamels  are  made  from  the  same  raw  materials,  sili- 
ceous, etc.,  as  glass,  but  to  these  ingredients  are  added  other  mineral 
substances,  which,  when  properly  fused  together,  impart  to  the 
enamel  its  durability,  density,  extreme  hardness  and  also  its  color. 
Gold  and  silver  enamels  are  the  result  of  different  processes.  On  a 
ground  of  thick  glass  is  laid  a  sheet  of  gold  or  silver  leaf,  then  a  film 
Df  the  purest  glass  is  spread  over  it  and  these  three  layers  are  sub- 
jected to  intense  heat,  with  the  result  that  they  are  fixed  in  one  solid 
body,  the  metallic  leaf    being    buried    between  two  strata  of  glass. 


LOBBY  OF  THE  STANFORD  MUSEUM  OF  FINE  ARTS 


This  process  requires  considerable  skill  and  knowledge  for  its  suc- 
cessful accomplishment.  All  pieces  of  enamel  are  approximately  a 
quarter  of  an  inch  thick.  They  are  rarely  more  than  an  inch  long  or 
wide  and  vary  in  shape  as  the  necessity  of  the  design  requires. 

Greek  artists  expelled  from  Byzantium  founded  the  school  of  mo- 
saic art  in  Venice.     Strange  to  say,  the  pupils  exceeded  their  masters 


THE   MOSAICS  27 

in  developing  the  art,  so  that  now  Venice  is  known  the  world  over  for 
the  work  in  this  line.  Its  progress  is  illustrated  in  the  glorious  basilica 
of  St.  Mark's,  which  is  covered  with  mosaics  of  the  various  periods 
and  which  has  become  a  building  marvelous  for  its  beauty,  richness 
and  peculiarity.  Learned  men  who  have  spoken  and  written  of  this 
church  have  told  of  its  charm.  While  presenting  a  collection  of 
many  styles  of  architecture  it  also  enshrines  every  possible  example 
of  mosaic  decoration  from  the  middle  ages  down  to  our  time.  John 
Ruskin  says  of  it : 

"The  perception  of  color  is  a  gift  just  as  definitely  granted  to  one 
person  and  denied  to  another  as  an  ear  for  music,  and  the  Venetians 
deserve  a  special  note  as  the  only  European  people  who  appear  to 
have  sympathized  to  the  full  with  the  great  eastern  races  in  their 
feeling  for  color.  They  indeed  were  compelled  to  bring  artists  from 
Constantinople  to  design  the  first  mosaic  of  St.  Mark's,  but  they 
.rapidly  took  up  and  developed  under  more  masculine  condition  the 
system  of  which  the  Greeks  had  shown  them  the  example.  I  believe, 
of  all  works  of  religious  art  whatsoever,  the  mosaic  (mostly  of  the 
twelfth  and  thirteenth  centuries)  represented  in  a  central  manner 
by  the  great  ones  of  St.  Mark's,  have  been  the  most  effective.  They 
covered  the  walls  and  roofs  of  the  churches  with  inevitable  lustre. 
They  could  not  be  ignored  or  escaped  from,  their  size  rendered  them 
majestic,  their  distance  mysterious,  their  color  attractive.  Churches 
ought  to  be  richly  adorned,  as  being  the  only  places  in  which  the 
desire  of  offering  a  portion  of  all  precious  things  to  God  could  be  legit- 
imately expressed." 

Street,  in  "Brick  and  Marble  of  the  Middle  Ages,"  says:  "Over  \y 
and  over  again,  when  at  Venice,  one  must  go  to  St.  Mark's,  not  to 
criticize,  but  to  admire,  and  if  ever  any  building  in  which  the  main 
object  is  the  study  of  art,  assuredly  here  it  must  also  be  to  worship. 
I  think  I  never  saw  an  interior  so  thoroughly  religious  and  religion 
inspiring,  as  this,  and  it  is  well,  therefore,  not  lightly  to  pass  it  by 
as  useless  for  our  general  purpose.  It  seems  to  show,  as  strongly  as 
any  example  can,  how  much  awe  and  grandeur  even  a  small  building 
may  attain  by  the  lavish  expenditure  of  art  and  precious  materials 
throughout  its  fabric,  for  it  is  to  this  that  St.  Mark's  owes  its  gran- 
deur, and  to  this  only.  There  is  nothing  imposing,  either  in  its  size 
or  its  architecture ;  on  the  contrary  they  appear  to  be  rather  mean. 


28  STANFORD  MEMORIAL  CHURCH 

and  yet  this  grand  display  of  mosaics  upon  a  glorious  gold  ground 
makes  the  work  appear  both  larger  and  better  than  it  is." 

All  writers  agree  on  the  subject,  however,  whether  Venetian  or 
otherwise,  in  granting  to  Venice  pre-eminence  in  the  art  of  mosaic. 
It  is  significant  to  record  a  sentence  of  Lanzi,  in  his  "Storia  Pit- 
torica  della  Toscana,"  where,  after  having  related  the  useless  attempts 
of  the  Florentines  to  decorate  worthily  the  chapel  of  St.  Zenobia,  he 
says :  "It  seems,  indeed,  that  the  glory  of  making  mosaic  has  been 
reserved  to  Venice."  It  is  impossible  to  set  it  down  as  mere  chance 
that  Venice  succeeded  in  reaching  so  high  a  degree  of  perfection  in 
the  mosaic  art,  for  more  probable  it  is  that  it  was  a  privilege  afforded 
to  her  by  peculiar  and  natural  circumstances,  arising  out  of  her  ma- 
terial and  artistic  position,  her  natural  inclination,  her  skill  and  her 
possession  of  the  grandest  example  for  study  and  imitation. 

These  opinions  have  to  do  mainly  with  mosaic  work  of  bygone  cen- 
turies. Strange  to  say,  there  was  a  decline  in  the  art  for  a  long 
period.  Its  renaissance  is  due  in  great  measure  to  the  study  and 
experimentation  of  Dr.  Antonio  Salviati.  His  leisure  time  after 
attention  to  his  profession  in  the  Forum  of  Venice  was  devoted  to 
studying  the  great  works  around  him.  It  was  a  source  of  grief  to 
him  that  these  were  apparently  decaying  for  want  of  attention  such 
as  only  skilled  artists  could  provide.  He  was  firm  in  his  conviction 
that  his  city  still  possessed  the  best  elements  for  exercising  and  de- 
veloping and  improving  the  art  of  mosaic.  He  therefore  abandoned 
his  profession  and  enlisted  the  aid  of  Lorenzo  Radi  of  Murano,  an 
artisan  who  for  many  years  had  devoted  his  attention  to  the  produc- 
tion of  gold  and  colored  enamels.  As  a  result  of  their  combined 
efforts  the  new  process  of  producing  gold  enamels  was  perfected.  It 
was  pronounced  by  a  committee  of  the  Academy  of  Fine  Arts  of 
Venice  to  be  successful  in  producing  "gold  enamels  for  mosaic  work 
superior  to  those  previously  manufactured,  even  to  some  of  the 
ancient  ones,  from  the  brilliancy  and  transparency  of  the  vitreous 
layer  (crystalline)  over  the  gold  leaf,  having  a  compactness  and 
adhesiveness  to  the  underlying  layer,  so  as  to  secure  the  greatest 
possible  durability,  as  well  as  of  the  lustre  and  continuity  of  the 
gold  leaf  and  the  tablet  presenting  neither  scratches  nor  swelling. 
As  regards  the  pieces  of  colored  mosaics,  we  have  found  them  in 


THE  MOSAICS  29 

part  even  superior,  through  the  delicacy  and  softness  of  the  tints,  to 
those  of  ancient  mosaics." 

Along  with  this  improvement  in  materials  another  great  obstacle 
had  to  be  surmounted.  The  ancient  mosaicists  prepared  a  space  on 
the  wall,  then  slowly,  piece  by  piece,  placed  the  mosaic  together. 
This  was  a  very  expensive  method.  It  required  the  services  of  the 
artist  on  the  ground  where  the  mosaic  was  placed  in  order  to  have  the 
work  done  at  all,  practically  requiring  a  complete  mosaic  studio  and 
factory  for  each  installation  of  a  piece  of  work.  To  this  prohibitive 
cost  must  be  attributed  the  decay  in  the  art  that  continued  for  so 
long.  Dr.  Salviati's  modern  process  is  much  more  simple  and  vastly 
cheaper.  By  it  he  can  produce  work  at  his  studio  in  Venice  and  send 
it  to  any  place  in  the  world,  ready  to  be  mounted  in  permanent  form. 
The  subject  is  first  designed  and  painted  out  in  full  color.  Then  a 
copy  is  made  on  paper  and  this  is  cut  into  sections  which  are  distrib- 
uted to  various  artists,  each  one  of  whom  is  employed  in  covering 
with  mosaic  such  parts  of  the  general  subject  as  his  skill  permits 
him  to  master.  These  pieces  are  worked  upon  the  paper  in  reverse. 
When  finished  the  sections  are  packed  in  cases  and  sent  to  the  place 
which  is  intended  to  be  decorated  with  the  mosaic.  Here  the  work 
is  put  together  and  fixed  on  the  wall. 

Each  artist  in  preparing  his  section  has  to  exercise  the  greatest 
intelligence  and  patience  as  well  as  his  knowledge  of  color.  His  eye 
must  be  very  exact  to  enable  him  to  choose  the  right  bit  of  enamel 
from  more  than  10,000  different  shades  at  his  command.  Bit  by  bit 
he  proceeds,  matching  the  colors  of  the  original  painting  perfectly 
and  duplicating  all  its  lines.  When  properly  placed  in  position  there 
are  narrow  interstices  between  the  component  parts  of  the  mosaic. 

Accompanying  each  completed  mosaic  when  it  leaves  the  studio 
is  a  rough  sketch  or  preferably  a  photograph  marked  ofif  in  irregular 
lines  according  to  the  sectional  parts,  each  section  being  numbered 
for  easy  identification.  An  assembled  mosaic,  mounted  on  paper,  is  in 
exact  reverse  from  what  it  appears  on  the  wall.  It  is  the  same  as 
reading  matter  when  looked  at  in  the  type  form  or  a  picture  seen  in  a 
printing  block.  Inequalities  of  surface  caused  by  uneven  thickness 
of  enamel  are  overcome  in  the  final  mounting  by  the  face  being  fas- 
tened to  the  smooth  mounting  paper ;  then  in  placing  permanently  the 


30  STANFORD   MEMORIAL  CHURCH 

backing  material  yields  to  the  deeper  indentation  of  the  thicker  por- 
tions, leaving  the  exterior  surface  smooth. 

To  Lorenzo  Zampato  was  entrusted  the  work  of  placing  the  Stan- 
ford mosaics.  For  more  than  four  years  he  was  constantly  employed 
on  the  task.  He  illustrated  the  truth  that  to  be  an  artist  one  must 
first  be  an  artisan.  In  preparation  for  mounting  a  matrix  of  sand, 
brick  dust  and  cement  is  prepared.  This  is  moistened  and  mixed, 
then  spread  on  the  back  of  the  mosaic  section  and  on  the  wall  upon 
which  it  is  to  be  mounted.  While  the  matrix  is  plastic  the  artist 
places  the  section  in  position  and  presses  it  firmly  into  place.  Pres- 
sure forces  the  adhesive  mixture  into  the  interstices  between  the 
enamel  pieces,  holding  them  firmly  and  permanently,  and  after  being 
allowed  to  rest  in  place  for  a  time  the  mounting  paper  is  moistened 
and  removed.  With  a  small  block  similar  to  the  planer  used  in  level- 
ing type  forms  the  artist  smooths  the  mosaic  surface,  hammering  it 
into  place.  As  the  material  is  very  hard  there  is  not  the  slightest 
danger  of  injury  to  any  portion.  After  another  interval  the  mosaic 
is  thoroughly  cleansed,  exuded  portions  of  the  cement  removed  and 
the  mounting  of  the  section  is  complete.  So  it  goes  on  till  all  is  done. 
After  the  moisture  evaporates  the  cement  hardens  and  the  mosaic 
becomes  an  integral  part  of  the  wall.  At  times  gaps  must  be  filled 
in  the  background,  or  portions  have  become  dislodged  in  handling. 
These  are  replaced  by  the  artist,  making  the  whole  mosaic  perfect. 
Making  and  placing  mosaics  of  this  character  is  more  than  a  trade ; 
it  is  art. 

M.  Zampato  had  more  to  do  than  merely  placing  the  mosaics  as 
received  from  Venice.  In  reconstructing  the  facade,  in  particular, 
the  design  was  changed.  A  large  inscription  at  one  time  occupied 
the  broad  space  under  the  windows.  This  was  condensed  in  size  and 
carved  on  a  tablet  at  the  east  of  the  entrance.  A  water  scene  was 
substituted  under  the  windows  and  allowed  to  remain  in  place  for  a 
few  months.  It  proved  inharmonious  and  a  changed  architectural 
scheme  outlined  by  John  K.  Branner  was  adopted.  For  this  M.  Zam- 
pato furnished  the  mosaic  design  and  put  the  material  in  place  after 
the  stonework  had  been  completed. 

To  appreciate  the  full  artistic  value  of  mosaic  work  it  is  best  not 
to  approach  too  close.  The  work  is  broad  in  its  lines,  necessarily  so 
from  the  nature  of  the  medium  employed.     When  viewed  from   too 


THE   MOSAICS  31 

near  a  vantage  the  small  component  parts  stand  out  too  distinctly 
and  rob  the  composition  of  that  continuity  of  line  which  must  persist 
to  convey  the  idea  of  the  artist. 

It  would  require  the  ability  of  an  artist  of  rare  judgment  to  select 
the  best  piece  of  work  among  the  numerous  fine  mosaics.  No  choice 
will  be  made  here.  The  largest  single  piece  of  work,  of  course,  is 
that  on  the  facade,  "The  Sermon  on  the  Mount."  Among  the  47  peo- 
ple to  be  counted  in  the  whole  assemblage  may  be  recognized  the 
apostles  and  many  of  the  women  mentioned  in  the  Bible  as  closely 
associated  with  Christ.  The  grouping  is  excellent  and  the  portraiture 
when  viewed  from  the  proper  distance  wonderfully  lifelike.  The  sub- 
ject is  peculiarly  one  for  just  that  position  on  the  church,  as  it  allows 
of  the  grouping  in  an  ascending  scale  to  the  central,  purple  and  white 
robed  figure  of  the  Savior  delivering  his  immortal  sermon. 

The  vestibule  of  the  church  is  decorated  in  a  uniform  tapestry 
design,  all  in  mosaic.  Alternating  medallions  bear  in  monogram 
form  the  Greek  letters  Alpha  and  Omega  and  Christ's  initials.  In 
the  frieze  over  the  doors  are  two  cherub  groups  supporting  tablets 
bearing  the  inscriptions,  "Domus  Dei  Locus  Orations,"  "Domus  Dei 
Aula  Coeli." 

After  entering  the  body  of  the  church  from  the  vestibule  the  chan- 
cel and  apse  decorations  may'  be  viewed  at  a  distance,  but  it  is  better 
to  begin  a  methodical  examination  at  the  doors.  To  the  east,  under 
the  organ  loft  and  over  the  doors,  is  "Our  Lord  on  His  Throne  Sur- 
rounded by  the  Four  Evangelists,  Apostles,  Kings  and  Friends;"  to 
the  west  is  "Our  Lord  Receiving  Christ  in  Paradise." 

Proceeding  along  the  east  side  of  the  nave  the  visitor  may  see  the 
mosaics  in  this  order : 

Under  the  arches  of  the  east  wall  of  the  nave : 

"The  Prayer  of  Hannah." 

"Ahasuerus  Selects  Esther  to  Be  His  Queen." 

"The  Judgment  of  Solomon." 

"Saul  Casts  His  Spear  at  David." 

"God's  Promise  to  Solomon  when  Building  the  Temple." 

Over  the  side  door,  near  the  pilaster : 

"The  Garden  of  Eden." 

On  the  east  wall  of  the  clearstory,  over  the  arches : 

"God  Separating  Darkness  from  Light." 

"Driven  from  Eden." 

"The  Deluge." 


32  STANFORD  MEMORIAL  CHURCH 

"The  Tower  of  Babel." 

"Moses  Saved  from  the  Waters." 

On  the  east  wall  of  the  clearstory,  between  the  windows : 

"Noah  Is  Ordered  to  Build  the  Ark." 

"Abraham  Is  Informed  He  Will  Have  a  Son." 

"Angel  Gabriel  Announces  to  Zacharias  the  Conception  of  Eliza- 
heth." 

"Abraham  Sees  the  Promised  Land." 

"Daniel's  Prophecy." 

In  the  wall  of  the  chancel  is  a  reproduction  of  "The  Last  Supper," 
from  the  Sistine  Chapel  in  the  Vatican  at  Rome.  The  original  is 
the  work  of  Cosimo  Roselli  and  this  reproduction  at  Stanford  is  the 
only  one  that  has  been  allowed  to  be  made. 

A  large  picture,  "The  Seraph  Choir"  or  "The  Glory  of  the  Angels," 
separated  into  four  sections  by  stained  glass  windows,  is  from  a  sketch 
made  by  Professor  Paoletti  and  approved  by  Mrs.  Stanford.  It  con- 
tains a  large  number  of  figures  and  is  a  masterly  piece  of  work. 

Above  in  the  apse  are  mosaic  portraits  of  John  the  Baptist,  Ezekiel, 
Samuel  and  Jeremiah  on  the  east;  opposite  are  David,  Elias,  Moses 
and  Isaias. 

Over  the  four  pilasters  supporting  the  dome  are  spandrels  in  mosaic 
representing  angels^emerging  from  clouds.  The  ceiling  of  the  dome  is 
decorated  in  mosaic,  a  notable  feature  being  a  frieze  containing  a  large 
number  of  medallions. 

Under  the  arches  on  the  west  wall  of  the  nave,  beginning  at  the 
entrance :  , 

"Rebekah  and  Isaac." 

"Rachel  Sees  Jacob  Approaching." 

"The  Lord  Speaks  to  Moses  from  the  Burning  Bush." 

"Moses  Is  Ordered  to  Take  Israel  out  of  Egypt." 

"Joshua  Einds  a  Captain  for  His  Hosts." 

Over  the  door,  near  the  pilaster : 

"Old  Testament  Prophecies  Concerning  the  Coming  of  Christ." 

On  the  west  wall  of  the  clearstory,  over  the  arches : 

"Moses  Receiving  the  Tablets  of  the  Law." 

"Joshua  Successor  of  Moses." 

"David  Anointed  for  the  First  Time." 

"Meeting  of  David  and  Abigail." 


THB   MOSAICS 


33 


"David  Singing  His  Psalms." 

On  the  west  wall  of  the  clearstory,  between  the  windows : 

"Joseph  Sold  by  His  Brothers." 

"Jacob  Going  to  Canaan." 

"Isaac  Blessing  Jacob." 

"Dream  of  Jacob." 

"Abraham  Restrained  from  Offering  up  Isaac." 

In  the  wall  of  the  gallery  of  the  east  transept  are  mosaics  of  Noah, 
Noah's  Wife,  Isaac,  Rebecca,  Jacob,  Rachel,  Tobias,  Sarah,  Nathan, 
Deborah,  Aaron,  Naomi ;  also  over  the  doorways  are  lunettes  of  cherub 
singers,  while  the  remainder  of  the  wall  is  filled  in  with  tapestry 
mosaic  work  in  varied  colors. 

In  the  wall  of  the  west  transept  gallery  are  shown  in  mosaic  twelve 
Saints :  Helena,  James,  Margaret,  Andrew,  Philemon,  Thaddeus,  Eliz- 
abeth, Bartholomew,  Madeline,  Barnabas,  Gertrude,  Philip.  Lunettes 
over  the  gallery  doors  correspond  in  size  to  those  in  the  east  gallery, 
but  are  of  different  design,  while  the  tapestry  mosaic  work  is  of  the 
same  pattern. 


A  ROADWAY  SCENE  NEAR  STANFORD 


THE  WINDOWS 


f^cDDDdWE  windows  are  as  much  a  feature  of  the  church  as  the 
mosaics.  For  these  the  works  of  master  painters  of  Eu- 
rope were  drawn  upon  for  subjects.  It  required  three 
years  for  J.  and  R.  Lamb  of  New  York  to  complete  them. 
These  works  of  art  were  not  injured  in  the  earthquake  of 
1906  and  are  seen  in  all  their  original  beauty.  An  exception  is  the 
large  window  in  the  organ  loft,  which  replaced  the  famous  rose  win- 
dow of  the  original  structure.  Appropriate  scriptural  quotations  are 
added  below  the  pictorial  portion  of  the  window.  These  are  given 
with  the  names  of  the  subjects  for  the  larger  pieces. 

Beginning  in  the  nave  on  the  east  side  of  the  door  the  windows  in 
order  are  as  follows : 

"The  Annunciation"  (after  Shields),  Luke:  1-30,  31. 

And  the  angel  said  unto  her.  Fear  not,  Mary,  for  thou  has  found  favour  with  God. 
And  behold  thou   shalt  conceive  in  thy  womb  and  bring  forth   a   son,  and  thou 
shalt  call  his  name  Jesus. 

"The  Flight  into  Egypt"  (after  Plockhurst),  Matthew:  2-13. 

Now  when  they  were  departed,  behold,  an  angel  of  the  Lord  appeared  to  Joseph 
in  a  dream,  saying.  Arise  and  take  the  young  child  and  his  mother,  and  flee  into 
Egypt,  and  be  thou  there  until  I  tell  thee :  for  Herod  will  seek  the  young  child 
to  destroy  him. 

"The  Home  at  Nazareth"  (after  Hofifman),  Luke:  2-40. 

And  the  child  grew  and  waxed  strong,  filled  with  wisdom,  and  the  grace  of  God 
was  upon  him. 

The  five  windows  in  the  east  transept  are : 

"Christ  in  the  Temple"  (after  Holman  Hunt),  Luke:  2-48,  49. 

And  when  they  saw  him  they  were  astonished :  and  his  mother  said  unto  him, 
Son.  why  hast  thou  thus  dealt  with  us?  behod  thy  father  and  I  sought  thee  sor- 
rowing. 

And  he  said  unto  them.  How  is  it  that  ye  sought  me?  wist  ye  not  that  X  must  be 
in  my  Father's  house? 


THE  ANNUNCIATION 


THE  WINDOWS  37 

"Christ's  Baptism"  (after  Dore),  Mark:  1-11. 

And  a  voice  came  out  of  the  heavens,  Thou  art  my  beloved  Son,  in,  thee  I  am 
well  pleased. 

"The  Sermon  on  the  Mount"  (after  Hoffman),  Matthew:  5-16. 

Even  so  let  your  light  shine  before  men,  that  they  may  see  your  good  works 
and  glorify  your  Father  which  is  in  heaven. 

"Christ  Calming  the  Tempest"  (after  Dietrich),  Matthew:  8-25,  26. 

And  they  came  to  him  and  awoke  him,  saying,  Save,  Lord;  we  perish. 
And  he  saith  unto  them,  Why  are  ye  fearful,  O   ye  of  little  faith?     Then   he 
arose  and  rebuked  the  winds  and  the  sea  and  there  was  a  great  calm. 

"The  Raising  of  Jairus'  Daughter"  (after  Hoffman),  Luke:  8-52,54. 

And  all  were  weeping  and  bewailing  her:  but  he  said.  Weep  not,  for  she  is  not 
dead,  but  sleepeth. 
And  they  laughed  him  to  scorn,  knowing  that  she  was  dead. 
But  he,  taking  her  by  the  hand,  called,  saying.  Maiden,  arise. 

The  three  large  windows  in  the  chancel  are  "The  Nativity"   (Fel- 

lowes-Prynne),   "The    Crucifixion"    (Degger)    and   "The   Ascension" 

(Carlotti). 

In  the  west  transept,  from  the  chancel  onward,  are : 

"The  Miracle  of  the  Loaves  and  Fishes"  (after  Murillo),  Luke:  9-16. 

And  he  took  the  five  loaves  and  the  two  fishes,  and  looking  up  to  heaven,  he 
blessed  them,  and  brake ;  and  gave  to  the  disciples  and  set  before  the  mutitude. 

"Christ  and  the  Adulteress"  (after  Hoffman),  John:  8-7  and  11. 

But  when  they  continued  asking  him,  he  lifted  up  himself,  and  said  unto  them. 
He  that  is  without  sin  among  you,  let  him  cast  the  first  stone  at  her. 

And  she  said.  No  man,  Lord.  And  Jesus  said.  Neither  do  I  condemn  thee :  go 
thy  way;  from  henceforth  sin  no  more. 

"The  Good  Shepherd"  (after  C.  S.  Parker),  John:  10-11. 

I  am  the  good  shepherd :  the  good  shepherd  layeth  down  his  life  foil  his  sheep. 

"Christ  in  the  Home  at  Bethany"  (after  Hoffman),  Luke:  10-41,  42. 

But  the  Lord  answered  and  said  unto  her,  Martha,  Martha,  thou  art  anxious 
and  troubled  about  many  things. 

But  one  thing  is  needful :  Mary  hath  chosen  the  good  part,  which  shall  not  be 
taken  away  from  her. 

"Christ  in  Gethsemane"   (after  Hoffman),  Luke:  22-42. 

Saying,  Father,  if  thou  be  willing,  remove  this  cup  from  me;  nevertheless  not 
my  will,  but  thine,  be  done. 

In  the  west  wall  of  the  nave : 

"The  Dream  of  Pilate's  Wife"  (after  Dore),  Matthew:  27-19. 

And  while  he  was  sitting  on  the  judgment  seat,  his  wife  sent  unto  him,  saying. 
Have  thou  nothing  to  do  with  this  righteous  man :  for  I  have  suffered  many 
things  this  day  in  a  dream  because  of  him. 


38 


STANFORD   MEMORIAL  CHURCH 


"The  Angel  at  the  Tomb"  (after  Encler),  Alark:  16-6. 

And  he  saith  unto  them.  Be  not  amazed ;  ye  seek  Jesus,  the  Nazarene  which  hath 
been  crucified :  he  is  risen  ;  he  is  not  here :  behold,  the  place  where  they  laid  him ! 

"Lo,  I  am  with  yon  always,"  an  original  design  by  Paoletti.  Revela- 
tions:  22-4. 

And  they  shall  see  his  face. 

In  the  clearstory  windows,  beginning  near  the  organ  on  the  east 
side,  are  portrayed  Abraham.  Hagar  and  Ishmael,  Moses,  Pharaoh's 
Daughter.  Joshua,  Deborah,  David.  Ruth,  Solomon,  the  Queen  of 
Sheba,  Elijah,  Esther,  Isaiah,  Judith,  Daniel,  Hannah;  opposite  are 
the  Saints — Simeon,  Anne,  Matthew,  Faith,  ]Mark.  Charity,  Luke, 
Dorcas,  Paul,  ]\Iartha,  Stephen,  Agnes,  Peter,  Priscilla,  John,  Hope — 
seen  :n  the  order  named. 


A  CORNER  OF  THE  OUTER  QUADRANGLE 


THE  INSCRIPTIONS 


,^  XSCRIPTIONS  occupy  places  on  the  walls  specially  set 
'^  apart  for  that  purpose.  In  all  cases  except  the  memorial 
^.^J^  tablets  on  the  four  pilasters  the  inscriptions  are  enclosed 
^gj^  in  a  carv^ed  framework  of  the  bufT  sandstone  of  which  the 
church  is  built.  It  is  best  to  take  them  in  succession 
while  making  a  circuit  of  the  auditorium.  Beginning  at  the  east  of 
the  central  inner  entrance  the  inscriptions  in  order  are  as  follows: 

A  not)le  ambition  is  among  the  most  helpful  influences  of  student  life,  and  the 
higher  this  ambition  is.  the  better.  No  man  can  work  well  unless  he  can  speak 
as  the  Great  Master  did  of  the  joy  set  before  him. 

And  this  leads  to  the  greatest  of  all  safeguards,  and  the  most  encouraging  of  all 
stimulating  influences  to  a  noble  life, — that  is,  the  power  of  personal  religion.  We 
need  something  outside  of  and  beyond  ourselves.  "Remember,  you  are  not  your 
own, — You  are  bought  with  the  precious  blood  of  Jesus." 


The  world  is  new  to  every  soul  when  Christ  has  entered  into  it. 

We  can  never  perish  if  we  remain  in  the  arms  of  our  Father  Almighty. 


In  the  great  record  above,  our  names  are  written  in  characters  of  love, — which 
love  for  our  dear  Jesus  alone  can  read,  and  which  by  his  great  love  for  us  alone 
have  been  graven. 

The  highest  service  may  be  prepared  for  and  done  in  the  humblest  surroundings. 
In  silence,  in  waiting,  in  obscure,  unnoticed  offices,  in  years  of  uneventful,  un- 
recorded duties,  the  Son  of  God  grew  and    waxed  strong, 


On  the  base  of  the  pilaster,  in  gold  illuminated  letters,  the  first  me- 
morial tablet  is  placed.  Another  similar  tablet  is  on  the  side  facing 
the  chancel.     They  read: 

In  loving  memory  of  Leland  Stanford,  son  of  Josiah  and  Elizabeth  Stanford. 
Born  March  9,  1824.     Died  June  21,  1893. 

In  loving  memory  of  Elizabeth  Stanford,  mother  of  Leland  Stanford.  Born 
April  14,  1791.     Died  February  2"],  1873. 


40  .  STANFORD   MEMORIAL  CHURCH 

On  the  walls  of  the  east  transept  the  inscriptions  are  : 

True  life  is  the  principles  of  Christ  lived.  There  is  no  other  life  that  is  true. 
To  condense  it  still  more,  the  true  life  is  the  Christ  life  lived. 

God  knows  v^rhat  His  children  want  before  they  ask,  but  it  proves  their  faith 
in  him  to  pray  for  what  they  want. 

-^.-^.-^.^ 

Religion  is  intended  as  a  comfort,  a  solace,  a  necessity  to  the  soul's  welfare ;  and 
whichever  form  of  religion  furnishes  the  greatest  comfort,  the  greatest  solace 
it  is  the  form  which  should  be  adopted  be  its  name  what  it  will. 

The  best  form  of  religion  is,  trust  in  God,  and  a  firm  belief  in  the  immortality 
of  the  soul,  life  everlasting. 

An  eternal  existence  in  prospect  converts  the  whole  of  your  present  state  into  a 
mere  vestibule  of  the  grand  court  of  life ;  a  beginning,  an  introduction  to  what  is 
to  follow ;  the  entrance  into  that  immeasurable  extent  of  being  which  is  the  true 
life  of  man.  The  best  thought,  affections  and  aspirations  of  a  great  soul  are  fixed 
on  the  infinitude  of  eternity.  Destined  as  such  a  soul  is  for  immortality,  it  finds 
all  that  is  not  eternal  is  too  short,  all  that  is  not  infinite  is  too  small. 


A  life  that  is  founded  on  the  principle  of  goodness,  love,  wisdom  and  power  that 
represents  the  Christ  has  a  lasting  foundation  and  can  be  trusted. 

We  speak  of  love,  but  what  do  we  know  about  it,  unless  we  see  the  power  of 
love  manifested;  unless  we  are  given  the  power  to  bestow,  and  a  willing  heart  to 
bestow  it  upon,  and  within  humanity?  We  say  God  is  love,  but  if  we  do  not 
feel  the  power  of  His  love,  we  do  not  know  anything  about  it.  To  be  loved  by 
others  makes  the  power  of  love  within  our  hearts  grow. 


This  is  carved  on  a  cross  in  the  center  of  the  transept  wall : 

The  CROSS  is  the  emblem  of  faith,  hope  and  love,  those  ineffable  virtues  of  the 
soul  that  abide  iforever,  that  can  never  be  outgrown,  even  on  the  loftiest  planes  of 
being  in  the  mighty  universe  of  God. 

Man,  like  every  other  indivicTuality,  has  an  object  and  a  purpose  to  fulfill;  and, 
when  he  comprehends  this,  he  will  think  too  much  of  hirnself  to  stoop  to  any 
material  action  that  shall  bring  him  down  from  the  highest  position  on  the  throne 
of  his  nature. 

To  acknowledge  God  is  often  done  without  acknowledging  God's  great  love  for 
us,  and  it  is  His  love  and  tender  care  and  wise  leading  we  should  all  reflect  upon 
more  than  we  do, — much  more  if  we  would  do  our  duty. 

Events  are  messengers  of  either  Divine  goodness  or  justice.  Each  has  a  mission 
to  fulfill,  and,  as  it  comes  from  God,  accomplish  it  and,  in  sending  them,  the  good 
Father  sends  means  by  which  they  may  be  endured, — perhaps  averted.     Remedies 


THE  INSCRIPTIONS  4I 

in    sickness.     Love    in    trouble.     Comfort    in    weakness.     Renewed   hope    in    disap- 
pointment.    Tears  in  sorrow.     Smiles  to  follow  tears. 


Knowledge  is  intelligence  and  its  impress  comes  upon  the  mind.  Wisdom  is  the 
desire  of  the  heart  prompted  by  God's  highest  and  most  Divine  nature  and  com- 
prises all  knowledge.  Wisdom  is  the  highest  spiritual  intelligence,  while  the  natural 
man,  through  knowledge,  can  know  nothing  of  wisdom. 

A   man  may   have  great   intelligence   and   yet   have   nothing   of   the   Christ   life 

within  him. 

-^.-^.-^.-^ 

May  we  belong  to  God  in  this  mortal  life,  serving  Him  faithfully  through  its 
trials,  bearing  the  cross  after  Him,  and  may  we  be  His  forever  in  life  eternal,  with 
the  whole  Celestial  Court. 

It  is  a  great  advancement  toward  the  fulfillment  of  desires  in  the  life  beyond  to 
have  lived  a  Godly  life  on  earth. 


On  the  base  of  the  pilaster  at  the  east  side  of  the  chancel  is  another 
memorial  tablet  in  gold  lettering: 

In  loving  memory  of  Josiah  Stanford,   father  of  Leland   Stanford.     Born   Feb- 
ruary 28,  1795.     Died  April  19,  1862. 


Below  the  base  of  the  pulpit  at  the  east  side  of  the  chancel : 
Lord  Jesus,  without  reserve,  without  exception,  without  limitation,  may  Thy  holy 
will  be  done  in  all  things,  at  all  times. 


Below  the  reading  stand  on  the  west  oT  the  chancel : 

It  is  by  suflfering  that  God  has  most  nearly  approached  to  man;  it  is  by  suffering 
that  man  draws  most  nearly  to  God. 


On  the  base  of  the  pilaster  west  of  the  chancel : 

In  loving  memory  of  Dyer  Lathrop,  father  of  Mrs.  Leland  Stanford.     Born  May 
14,  1787.     Died  April  19,   1855. 


On  the  wall  of  the  west  transept,  beginning  at  the  pilaster  at  the 
chancel : 

There  are  but  few  on  earth  free  from  cares,  none  but  carry  burdens  of  sorrow, 
and  if  all  were  asked  to  make  a  package  of  their  troubles  and  throw  this  package 
on  a  common  pile,  and  then  were  asked  to  go  and  choose  a  package  which  they 
were  wilhng  to  bear,  all  would  select  their  own  packages  again. 

Your  heartaches  may  be  great,  burdens  heavy,  but  look  about  you,  and  with  whom 
would  you  change? 


The  test  of  a  Christian  lies  in  deeds  and  actions,  not  in  words,  a  true  follower 
of  truth  and  Godliness,  not  a  follower  of  the  impressions  of  the  flesh  nor  the 
impress  of  the  intellect  alone,  but  endeavoring  to  let  the  heart  be  touched  by  the 
divine  principle      of  God's   truth  and  that  qlone  makes   Christians.     The   instinct 


42 


STANFORD  MEMORIAL  CHURCH 


given  to  all  of  God's  children  to  seek  happiness  is  proof  that  happiness  is  a  reality 
within  the  reach  of  all. 


^.^ 


If  we  do  good  deeds  to  others  and  try  to  help  them  to  live  happier  and  better 
lives  by  being  kind  to  them,  and  teaching  them  of  the  God  germ  within  themselves, 
we  in  that  way  sow  the  seed  and  God  in  His  own  way  and  time  will  make  it  grow. 
There  is  such  a  thing  as  mistaking  Christian  privileges  for  Christian  attainments, 
and  of  imagining  that  we  are  what  we  ought  to  be  simply  because  we  know  it. 
There  is  something  in  all  hearts  that  can  be  reached, — some  chord  that  will  give 
forth  sweet  music  if  we  only  have  the  skill  to  touch  it. 

May  the  peace  which  no  earthly  disturbances  can  mar,  which  is  of  the  Father 
through  His  inspiration  and  love,  fill  your  hearts,  and  enable  you  to  go  on  in  the 


IN  THE  FOOTHILL  COUNTRY 

It  is  a  region  of  rolling  foothills  between  the  Stanford  University  campus  and  the 

Santa  Cruz  Mountains  to  the  west.     Over  these  hills  and  mountains  the 

soldiers  will  carry  on  their  training  campaign  work. 


journey  of  life  with  a  feeling  of  trust  and  confidence  that  nothing  can  disturb. 
It  is  not  love  for  God,  but  love  for  the  neighbor,  good  will  toward  man  universal, 
kindness  and  gentleness,  that  makes  saints  on  earth.  One  must  give  as  well  as 
take  of  goodness,  gentleness  and  unselfish  kindness  to  meet  with  God's  approval. 

On  a  cross  corresponding  to  that  in  the  east  transept  is  carved : 
O  God,  Thou  Divine  principle  of  good,  who  dwellest  in  harmony  and  love,  we 


the:  inscriptions 


43 


feel  in  our  souls  that  thou  art  good  to  us,  for  we  believe  that  Thou  rulest  in  all 
things  for  each  one's  ultimate  good,  and  we  desire  to  be  true  children  of  light  and 
of  Thine. 


God  is  all  in  all :  and,  if  we  cannot  appropriate  and  worship  Him  in  all  things, 
we  worship  only  part  of  God. 

As  we  grow  and  improve,  we  will  love  more  and  more  the  beautiful  everywhere. 
Praise  God  for  the  gift  of  nature  for  giving  so  much  of  everything  that  is  beautiful 
in  all  the  universe,  because  His  life  is  in  it  all. 

By  your  life  only  can  you  prove  your  principles  to  the  world  and  show  to  them 
there  is  a  life  worth  living. 


Regard  not  the  appearances  of  things  you  are  to  do,  but  Him  who  commands 


THE  ROADWAY  BACK  OF  THE  UN[VERSITY 


them,  and  who,  when  he  pleases,  can  accomplish  His  glory  and  our  perfection 
through  the  most  trifling  things. 

When  a  person  thinks  a  duty  is  beneath  him,  he  places  himself  above  God,  for 
He  deals  with  that  same  duty. 

Let  us  never  be  sad,  save  at  having  offended  God. 


God  gives  all  some  work  to  do. — if  not  great  deeds,  then  small  ones, — as  the  cup 
of  cold  wateV  to  one  of  his  children. 

Yes,  even  less  than  that, — a  word  of  advice,  something  lent  to  another,  a  little 
vexation  patiently  borne,  the  fault  of  thoughtlessness  of  another  repaired  without 
his  knowledge.     God  will  recompense  it  all  a  thousand-fold. 


Thoughts  and  words  travel  just  as  God's  life  travels.     They  do  not  travel  like  an 


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THE  INSCRIPTIONS 


45 


individual,  but  breathe  your  spiritual  life  into  the  atmosphere  as  you  do  your  breath, 
and  some  one  else  breathes  it  in.  Those  not  present  still  perceive  it,  for  it  per- 
meates space,  and  all  live  in  it  and  receive  from  it  according  to  their  unfoldment. 


On  the  pilaster  facing  the  chancel  and  on  the  side  toward  the  door : 
In  loving  memory  of  Jane  Ann  Lathrop,  mother  of  Mrs.  Leland  Stanford.     Born 

May  6,  1803.     Died  Steptember  3,  1882. 

In  loving  memory  of  Leland  Stanford,  son  of  Leland  and  Jane  Lathrop  Stanford. 

Born  May  14,  1868.     Died  March  13,  1884. 


On  the  west  wall  of  the  nave : 

We  must  not  desire  to  begin  by  perfection.     It  matters  little  how  we  begin  pro- 
vided we  be  resolved  to  go  on  well  and  end  well. 


Earth  grants  joys  that  are  great,  but  transplant  such  joys  to  heaven,  ennoble 
them  through  the  ennobling  love  of  God,  and  they  grow  to  a  magnitude  beyond  the 
comprehension  of  earth  mind. 

God  in  His  infinite  wisdom  gives  to  the  poor  blessings  by  way  of  compensation 
which  the  wealthy  do  not  attain — the  giving  and  receiving  of  heart  offerings  without 
price,  deeds  that  win  crowns  and  scepters  in  heaven. 


There  is  no  narrowing  so  deadly  as  the  narrOwing  of  man's  horizon  of  spiritual 
things.  No  worse  evil  can  befall  him  than  in  his  course  on  earth  to  lose  sight 
of  Heaven.  And  it  is  not  civilization  that  can  prevent  this :  it  is  not  civilization 
that  can  compensate  for  it.  No  widening  of  science,  no  possession  of  abstract  truth, 
can  indemnify  for  an  enfeebled  hold  on  the  highest  and  central  truths  of  humanity. 
"What  shall  a  man  give  in  exchange  for  his  soul?" 


THE  STANFORD  FAMILY  STATUARY  GROUP 
Formerly  in  the  Memorial  Court,  now  in  the  lobhv  of  tlie  Museuni 


ROBLE  HALL,  FIRST  DORMITORY  FOR  WOMEN 


THE  STANFORD  MAUSOLEUM 

Two  senior  students,  a  young  man  and  a  young  woman,  are  appointed  each  term 

to  place  flowers  at  the  door  of  the  mausoleum  every  Sunday  morning. 


m\m 


^upoP/  THE  STiSsi.FORD  CAMPUS 


^^r^^^' 


:.■    -A 


.r.^ 


x^ 


UNIVERSITV  OF  CAUFORNIA  UBRARY 


MAR12194T 


